ROMANCE & MELODRAMA--the woman‟s film, chick flick, weepie, girlie film
CONNOTATIONSWhat comes to mind when you hear the word “melodrama”?
CONNOTATIONS       What comes to mind when you hear the word “melodrama”? Emotional?
CONNOTATIONS       What comes to mind when you hear the word “melodrama”? Emotional? Excessive?
CONNOTATIONS       What comes to mind when you hear the word “melodrama”? Emotional? Excessive? Loud sound score?
CONNOTATIONS         What comes to mind when you hear the word “melodrama”?   Emotional?   Excessive?   Loud sound scor...
CONNOTATIONS         What comes to mind when you hear the word “melodrama”?   Emotional?   Excessive?   Loud sound scor...
CONNOTATIONS         What comes to mind when you hear the word “melodrama”?   Emotional?   Excessive?   Loud sound scor...
CONNOTATIONS         What comes to mind when you hear the word “melodrama”?   Emotional?   Excessive?   Loud sound scor...
DEFINITIONSMelodrama evolved from the Greek word melos (music) and drama (often meaning tragedy).Northrup Frye describes “...
WAY DOWN EAST, D.W. GRIFFITH (1920)      STARRING LILLIAN GISH     Way Down East, ice floes
IMPORTANT DIRECTORS, ACTRESSES & ACTORS• 1920‟s   D.W. Griffith       Lillian Gish• 1930‟s George Cukor• 1940‟s Max Ophuls...
MOLLY HASKELLWoman‟s Film Themes:Sacrifice—herself for love, children, career, etc..Affliction—burden of some sort to over...
SIGNS OF MELODRAMA                        --A MODE, NOT A GENRE?The persistence of the melodrama might indicate the ways i...
CONTRADICTIONS=MORAL OCCULT Society vs. Individual Sacred/mythic world order vs. real, bourgeois world__________________...
THE STARBy 20th century, moral value resides in the individualpersonality—the star                Where did the community ...
COMING OF AGE MELODRAMAS                     JANE EYRE/TWILIGHT                       STORY ELEMENTS Presentation of virt...
SIGNS OF COMEDY                  ALTERNATIVES TO SUFFERING?!                    THE PHILADELPHIA STORYWomen‟s Lives are Na...
TRANSGRESSIVE WOMEN“…whereas melodrama allows the transgressive woman totriumph only in her suffering, romantic comedy tak...
ANTI-AUTHORITARIAN ENERGY, UTOPIA AND                         COMMUNITY“Comedy celebrates excess not only for itself but b...
OEDIPAL DILEMMAS—ABDICATING MOTHERSIf a heroine refuses to resolve her Oedipal passage withher mother & the narrative leav...
TORTURE THE WOMEN!                    Body GenresWeeping in melodrama/”women‟s” filmsViolence & terror in horror filmsEcst...
WE ARE ALL PERVERTS.Psychoanalysis has emphasized “perversions” of thefilm gaze:Fetishes (Guns, Shoes, Excessive make-up)V...
Upcoming SlideShare
Loading in …5
×

Melodrama & Romance, LUC

567 views

Published on

0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total views
567
On SlideShare
0
From Embeds
0
Number of Embeds
1
Actions
Shares
0
Downloads
7
Comments
0
Likes
0
Embeds 0
No embeds

No notes for slide
  • 27:36 wedding; 53:45sick baby;2:07: 15 kicked out; 2:12:10 ice flow
  • Christine Gledhill, “Signs of Melodrama” History—a mode, not a genre with historic roots in….
  • With industrialization in 19th century, we start to see contradictions emerge, primarily because of urbanization, immigration, changing role of religion. Doubt is replaced by other forms of moral and emotional commitment—the individual is new center of law, of moral behavior, of happiness…
  • Melodrama & Romance, LUC

    1. 1. ROMANCE & MELODRAMA--the woman‟s film, chick flick, weepie, girlie film
    2. 2. CONNOTATIONSWhat comes to mind when you hear the word “melodrama”?
    3. 3. CONNOTATIONS What comes to mind when you hear the word “melodrama”? Emotional?
    4. 4. CONNOTATIONS What comes to mind when you hear the word “melodrama”? Emotional? Excessive?
    5. 5. CONNOTATIONS What comes to mind when you hear the word “melodrama”? Emotional? Excessive? Loud sound score?
    6. 6. CONNOTATIONS What comes to mind when you hear the word “melodrama”? Emotional? Excessive? Loud sound score? Lots of drama in interior spaces?
    7. 7. CONNOTATIONS What comes to mind when you hear the word “melodrama”? Emotional? Excessive? Loud sound score? Lots of drama in interior spaces? Exterior challenges?
    8. 8. CONNOTATIONS What comes to mind when you hear the word “melodrama”? Emotional? Excessive? Loud sound score? Lots of drama in interior spaces? Exterior challenges? Death, desire, illness, romance, dancing?
    9. 9. CONNOTATIONS What comes to mind when you hear the word “melodrama”? Emotional? Excessive? Loud sound score? Lots of drama in interior spaces? Exterior challenges? Death, desire, illness, romance, dancing? Women, children have more central roles?
    10. 10. DEFINITIONSMelodrama evolved from the Greek word melos (music) and drama (often meaning tragedy).Northrup Frye describes “the triumph of moral virtue over villainy, and the consequentidealizing of the moral views assumed to be held by the audience.” (He also connectedthese emotions to potential propaganda.)Peter Brooks in his classic The Melodramatic Imagination, also reflects on the power ofmelodrama in society—the “socialization of the deeply personal.” He saw melodrama assimilar to nightmares, where the good loses out to the evil. “The end of the nightmare isan awakening brought about by confrontation and expulsion of the villain, the person inwhom evil is seen to be concentrated, and a reaffirmation of „decent people.‟” Heroes arecentral. So is justice.Melodrama is connected to popular appeal and condemned by critics as being sentimental,naive and sensational.
    11. 11. WAY DOWN EAST, D.W. GRIFFITH (1920) STARRING LILLIAN GISH Way Down East, ice floes
    12. 12. IMPORTANT DIRECTORS, ACTRESSES & ACTORS• 1920‟s D.W. Griffith Lillian Gish• 1930‟s George Cukor• 1940‟s Max Ophuls, Howard Hawks Joan Crawford, Bette Davis, Vivian Leigh, Katherine Hepburn, Humphrey Bogart, Cary Grant, Spencer Tracy, Irene Dunn• 1950‟s Douglas Sirk, Alfred Hitchcock Ingrid Bergman, Rock Hudson, Jimmy Stewart, Lauren Bacall
    13. 13. MOLLY HASKELLWoman‟s Film Themes:Sacrifice—herself for love, children, career, etc..Affliction—burden of some sort to overcomeChoice—which partner is the best choice?Competition—other women to fight off"The domestic and the romantic are entwined, one redeeming the other, in thetheme of self-sacrifice, which is the mainstay and oceanic force, high tide andlow ebb, of the womans film” Molly Haskell, 157.
    14. 14. SIGNS OF MELODRAMA --A MODE, NOT A GENRE?The persistence of the melodrama might indicate the ways in which popularculture has…resolutely refused to understand social change in other thanprivate contexts and emotional terms.” Thomas ElsaesserRoots in:1. Medieval morality play—emphasis on actions, not psychology2. Post-revolution French romantic drama—emphasis on interior moral decisions for actions
    15. 15. CONTRADICTIONS=MORAL OCCULT Society vs. Individual Sacred/mythic world order vs. real, bourgeois world____________________Melodrama emerges to compensate for drop in the credibility ofallegorical/tragic myths and organized religion—only moral occult remains.(E.g. horror genre, American Horror Story, Twilight, etc…)
    16. 16. THE STARBy 20th century, moral value resides in the individualpersonality—the star Where did the community go?!Melodramas exteriorize internal conflict—narratives ofclarification Who am I?!Character is revealed/transformed, internal truths emerge
    17. 17. COMING OF AGE MELODRAMAS JANE EYRE/TWILIGHT STORY ELEMENTS Presentation of virtue/innocence Obstacle or introduction of menace/monster Virtue challenged (in private, domestic spaces; reading books) Evil men, bad women—Vampyrs—subdued or killed by end Secrets—other women, not human, etc—are revealed/clarified in excessive ways—I am “unconditionally & irrevocably in love with him”
    18. 18. SIGNS OF COMEDY ALTERNATIVES TO SUFFERING?! THE PHILADELPHIA STORYWomen‟s Lives are Narrated by:• Story within the Story (Parental marriage)• Romantic Comedy & “comic unruliness” (Hepburn, Grant)• Exclusion from (masculine, heroic) tragedies (Grant‟s drinking)• Drive towards Utopian—wedding, renewal, rebirth (she made the right choice and healed the family in the process, right? wink, wink….)
    19. 19. TRANSGRESSIVE WOMEN“…whereas melodrama allows the transgressive woman totriumph only in her suffering, romantic comedy takes her story toa different end, providing a sympathetic place for femaleresistance to masculine authority and an alternative to thesuffering femininity affirmed by melodrama.” Kathleen Rowe Karlyn
    20. 20. ANTI-AUTHORITARIAN ENERGY, UTOPIA AND COMMUNITY“Comedy celebrates excess not only for itself but because it pavesthe way for a community liberated from structures grown so rigidand unyielding that they threaten its very existence.”“Romantic comedy treats the social difference that impedescommunity as a matter of sexual difference, and so it builds thefeminine into both the construction and the resolution ofnarrative conflict”“The utopian possibilities of a new social order lie in the couple‟svictory over the obstacles between them, and in the child or newlife implicit in their union.”
    21. 21. OEDIPAL DILEMMAS—ABDICATING MOTHERSIf a heroine refuses to resolve her Oedipal passage withher mother & the narrative leaves the mother/daughterrelationship in tact then—that generally means—under patriarchy—that themother/daughter relationship will fall apart in order tomake a (hetero) relationship happen in the story.
    22. 22. TORTURE THE WOMEN! Body GenresWeeping in melodrama/”women‟s” filmsViolence & terror in horror filmsEcstasy in pornWilliams: There is “value in thinking about the form,function and system of seemingly gratuitous excessesin” horror, porn and melodrama…
    23. 23. WE ARE ALL PERVERTS.Psychoanalysis has emphasized “perversions” of thefilm gaze:Fetishes (Guns, Shoes, Excessive make-up)Voyeurism (Watching in the dark)Sadism/Masochism (Watching others suffer pain; identifyingwith the suffering)DON‟T WE OSCILLATE BETWEEN VIEWS?

    ×